The Vintage Journal - Leeuwin Estate

This eJournal explores the history and making of Leeuwin Estate from 1969 to the present day. It also comprises vertical tasting reviews and highlights the collectability and longevity of its wines.

BY ANDREW CAILLARD MW

VINTAGE JOURNAL – GREAT ESTATES SERIES – The

VOLUME 1 - LEEUWIN ESTATE

‘Everything we do at Leeuwin Estate comes from the land. It’s about bringing the land to life in the bottle.’ Simone Furlong, Leeuwin Estate

The Vintage Journal – Great Estates Series

CONTENTS

‘From nowhere to somewhere’

Margaret River How it all Began

1 2 3 4 5 6 7 8

Denis and Tricia Horgan Margaret River Vignerons The Story of Leeuwin Estate

Benchmarking

Leeuwin Estate Concert Series

Margaret River Promise

Brocksopp, Cartwright and Atwood Leeuwin Estate’s Winemaking Team Viticulture and Winemaking

10 11

The Land

13 14 15

Vineyard Plantings

Gingin Clone

Leeuwin Estate Art Series Chardonnay

19 33 46

Cabernet Sauvignon

Shiraz

About the Author

iii

Volume 1 – Leeuwin Estate

Denis, Tricia, Simone, and Justin Horgan

‘FROM NOWHERE TO SOMEWHERE’ LEEUWIN ESTATE is an Australian masterpiece and represents the dream of coming ‘from nowhere to somewhere’. It is an accidental creation born from happenstance and naivety yet steeped in ambition and generosity. Since 1969, Tricia and Denis Horgan have played an important role in defining the Margaret River wine region’s identity. Their vision to ‘produce wines that rank with the best in the world through the pursuit of excellence’ has been fulfilled in their lifetime, achieved by brilliant planning, hard work and a remarkable fidelity to nature and nurture. The expressive Leeuwin Estate Art Series Chardonnay is the jewel in the crown and all around it are reflected in its glory. This monograph explores the history and making of Leeuwin Estate from 1969 to the present day. It also comprises vertical tasting reviews and highlights the collectability and longevity of its wines. As a specialist wine auctioneer, I witnessed first-hand the growing stature of Leeuwin Estate from the mid-1980s. The 1987 Leeuwin Estate Chardonnay was the first Australian white wine to break the $100 (per bottle) mark at auction. Its lasting quality and individuality are well known and appreciated by aficionados around the world. But it is also an historic label because of its profound connection with the Gingin clone and the lateritic soils of the Margaret River. This prolifically planted clone has shaped the destiny of Margaret River Chardonnay and places this regional style as one of the greatest in the world. Moreover, Leeuwin Estate is now a cultural centre and destination for wine, art and music lovers. The soaring stands of karri trees and natural amphitheatre have become an iconic feature of the Western Australian landscape. Margaret River Cape Leeuwin is where great forces of nature, propelled by the Roaring Forties, create a natural foment. It is here that the great Southern Ocean collides and confluences with the Indian Ocean.

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The seas smash and roll into a jutting coastline or swell and break against endless white beaches with relentless power. Westerlies and Southerlies waft and breeze or muscle it out with stupendous strength. In February the landscape is a rich cloth of gold exaggerated by the afternoon light. The land pitches and yaws along Caves Road, through immense stands of apricot-pink karri timber and past Tasman blue dams, ancient caves and generous pastures dotted with Friesian cattle and Merino sheep. Bright green vineyards stretch and undulate into the distance, cutting a swathe across dry flaxen paddocks. The Margaret River region of southwest Western Australia is one of the most ancient parts of the world, a weathered granitic island conjoined to the Australian mainland by a sedimentary basin. ‘Our mission is to produce wines that rank with the best in the world through the pursuit of excellence.’ Denis Horgan, Founder and co-proprietor (with Tricia Horgan) of Leeuwin Estate How it all Began During the 1960s Margaret River was still an isolated backwater 300 kilometres south of Perth. Throughout the 19 th and early 20 th century, the region developed primarily as logging and dairying country. The left-hand breaks were notorious among surfies. The beautiful natural environment also attracted young people in search of a free-spirited lifestyle. The unfolding social demography of the region foreshadowed an emerging community aspiration for sustainable living. Although it took a while for local farmers to fully accept change, the development of a wine industry has played an important role in harmonising outlooks and bringing economic prosperity to the region. A 1955 visit to Western Australia by Dr Harold Olmo, professor of viticulture at the University of California’s Davis Campus, led to a “A Survey of the Grape Industry of Western Australia”. The report was largely ignored by the State Government but it was noticed by State Viticulturalist Bill Jamieson and scientist Dr John Gladstones. Although Olmo had championed the potential of Frankland River, Gladstones, of the University of Western Australia, went one step

The Vintage Journal – Great Estates Series

further. In 1965 the Journal of the Australian Institute of Agricultural Science published his paper “The Climate and Soils of South-Western Australia in Relation to Vine Growing”. Gladstone’s perceptive understanding of weather patterns and soil profiles of the region was a remarkable validation for the area’s potential. In 1966 he predicted that ‘Margaret River will with time become one of the world’s great wine regions’. State Viticulturalist Bill Jamieson and viticulturalist / winemaker Dorham Mann, the son of legendary winemaker Jack Mann, were instrumental in getting the region going, advising new vignerons on the best places to plant vines and how to manage their vineyards. When Dr Thomas Cullity, a Perth cardiologist, planted his original Vasse Felix vineyard in 1967 on ‘red gravel in red gum country’ in the Wilyabrup sub-region, he began a movement that kicked-started wine making in the Margaret River region. Leeuwin Estate was among the first wave of new vignerons to activate the terroir and create new beginnings. Cape Mentelle, Cullen, Leeuwin Estate, Moss Wood, and Vasse Felix, the original quintet, represent a symbol of Australian agricultural wealth and individuality. Denis and Tricia Horgan Denis Horgan was born in 1940 and grew up in Perth’s Claremont and Nedlands suburbs. After his father died at a young age, he worked to helped provide income for his family while studying accountancy part-time. His first job, at age 14, was as an office boy for Sir Charles Court, a chartered accountant and later premier of Western Australia. After graduating as a chartered accountant, Denis Horgan established a local practice which became one of the State’s leading M&A firms. After marrying Tricia Hollett, whom he met while auditing a finance business, they formed an enduring partnership based on trust, optimism and entrepreneurial vision. But their entry into wine was purely accidental. Denis Horgan, described by his colleagues in his younger years as a beer-drinking surfie, was arguably the least likely person to venture into a wine business. But happenstance intervened. An offer to acquire Western Australia’s ‘largest high-rise plumber’ was initially ignored until it was discovered that the sale included a farm close to some of the finest surfing beaches in the State. In 1969 Tricia and Denis Horgan travelled down to Margaret River and fell in love with

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the property. The previous owner had put together several soldier settlement blocks to form 1150 acres (465.4 hectares) of glorious farmland. The plan was to continue as a grazing property. There was never any intention to plant vineyards. Today, the property totals 668 hectares with 153.5 hectares under vine including recent plantings. Margaret River Vignerons A chance meeting, however, with Californian vigneron Robert Mondavi changed everything. In 1972 Denis Horgan received a telephone call from his solicitor announcing that an American attorney from Seattle was in town with a visiting winemaker. ‘They are interested in your property’, he said. ‘Are you going to sell?’ Denis Horgan invited them around for a drink out of interest, rather than with any intent to sell. In the meantime, learning of Robert Mondavi’s reputation, he purchased some of ‘the most expensive wines in town because they must be good’. At that fateful meeting the Horgans discovered that Robert Mondavi was consulting to an American syndicate looking for suitable land to grow ‘really high- quality wine in the alternative hemisphere.’ The syndicate had read the reports by Dr John Gladstones and Professor Olmo. According to Denis Horgan, Mondavi had visited his Margaret River farm three times over three years, unbeknown to him! This was quite a shock because in 1972 the roads around Margaret River were poor, farm properties were difficult to access and the region was not yet known for wine, with only a few vineyards planted. The American syndicate was initially involved in helping finance vineyard plantings at the Horgan’s farm in 1973, but its involvement soon evaporated. Robert Mondavi, however, became a friend of the family and helped them work out a plan to develop a wine business. Denis Horgan said, ‘Chartered accountants are always taught that you must have a mission statement, and with Robert’s help we came up with one: to produce wines that rank with the best in the world through the pursuit of excellence’. Recollections of shaping ‘a beer-drinking surfie’s mission, a darling wife, four kids and a fair bit of blank space’ into a common purpose seem remarkably naive, but the Horgans were well capitalised and well researched. All that was needed was to ‘put the pieces in place’. Among the priorities was actually knowing what great wine was and establishing the newly named Leeuwin Estate.

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The Story of Leeuwin Estate Leeuwin Estate initially planted 97 hectares over a five-year period, initially under the supervision of Stan Heritage, a contract viticulturalist from South Australia. This was an enormous investment, the largest vineyard planting in the State. Varieties included chardonnay, cabernet sauvignon, shiraz, riesling, sauvignon blanc, semillon and gewürztraminer. According to Denis Horgan, Robert Mondavi was instrumental in finding the right people to join the project. The appointment of viticulturalist John Brocksopp and winemaker Bob Cartwright (28 vintages) was enlightened and lasting. Their very long careers at Leeuwin Estate shaped the direction, quality and style of the wines. The Leeuwin Estate team also included Polish immigrant farm manager Henry Kowalski, a Father Christmas character inherited from the previous owner who brought a sense of magic, wisdom and local knowledge. The first vignerons of the Margaret River also sought each other’s company to share first-hand knowledge, contacts and a glass of wine.

Dr Tom Cullity of Vasse Felix, Dr Kevin Cullen of Cullen and Dr Bill Pannell, all medical practitioners, were particularly helpful and friendly. Denis Horgan said, ‘They had a big influence on us in the early days. The founding fathers set the standards. They had such passion!’ Robust debate, shared experiences, borrowing each other’s vineyard equipment, raising families and talking wine created longstanding bonds. Denis Horgan once pointed out, ‘Down here we like to think that if we all work together, everybody is better off’. Benchmarking Robert Mondavi travelled to Western Australia regularly during the early days of Leeuwin Estate and would show benchmark chardonnays and cabernets around the world for the team to taste and evaluate. During these tastings, Château Mouton Rothschild labels caught the attention of Tricia and Denis Horgan. They were both interested in Australian art and had collected paintings from well-known artists. They loved the concept. On a trip to Europe, Denis Horgan travelled to Bordeaux and met Baroness Philippine Rothschild. Together with her husband Baron Phillipe, she had formed the joint venture Opus One in California with Robert Mondavi in 1978. After visiting the wine museum and display of labels at Château Mouton Rothschild, Denis Horgan asked his host whether she would object to Leeuwin Estate creating its own Art Series labels based on Australian artists. Enthusiastic and generous, she encouraged the idea. Western Australian artist Robert Juniper’s ‘Caves Road’ was the first Leeuwin Estate Art Series Label and today the winery’s collection of modern and contemporary works now comprises over 160 paintings, all hanging at Leeuwin Estate’s recently renovated art gallery. Robert Mondavi’s advice, ‘Don’t put your wines into wine shows’, became a ‘bone of contention’ between the Horgans and their close friend Len Evans, one of Australia’s great wine ambassadors and a fierce champion of the Australian Wine Show system. But it is difficult to know what type of success Leeuwin Estate might have had. There is an element of being in a lottery when showing wines in this group blind-tasting format, although distinctive wines tend to not be overlooked. Nonetheless, the Horgans ‘stayed true to Mondavi’s advice to benchmark Leeuwin Estate wines against the world’s best and not make show wines the benchmark’.

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During my career as a fine wine auctioneer, I observed frequently that collectability is linked to reputation and track record. Langton’s Classification of Australian Wine – released for the first time in 1989 – was also based on this truth. Robert Mondavi understood the levers of influence well before most new world wine producers. His Opus One venture with Mouton Rothschild is an extraordinary legacy of that mindset. Leeuwin Estate Concert Series During the 1980s there were also aspirations to create an event that would attract more visitors to Leeuwin Estate and the Margaret River. With a 220-acre-bearing vineyard and plans to plant more vines, a market needed to be found. The idea of the Leeuwin Estate Concert Series was another madcap idea that most vignerons of the time would have shirked. But Denis and Tricia Horgan were different, possessing grand visions and the mettle to back themselves. The first attempts failed, but a chance approach by Perth Festival’s

Volume 1 – Leeuwin Estate

David Blenkinsopp for Leeuwin Estate to ‘underwrite a prospective visit to Australia by the London Philharmonic Orchestra (LPO)’ laid the foundations of a new Margaret River tradition. Denis Horgan, in typical swashbuckling form, offered to help if the LPO were prepared to schlep 300 kilometres to the winery to give an outdoor concert. To everyone’s surprise the orchestra agreed. Over 100 LPO musicians and crew made their way to Leeuwin Estate in February 1985 and gave ‘the most extraordinary concert ever held in Australia’ to a sell-out crowd. Thus began the coveted and ground-breaking Leeuwin Estate Concert Series held at the winery every summer (except during the pandemic years). Some of the world’s most loved entertainers have played under the star-spangled southern skies, including Dame Kiri Te Kanawa, Ray Charles, Tom Jones, James Taylor, Carole King and Sting. ‘Leeuwin Estate is all about fine wine, music, the arts and great food. We want to bring alive everything around our wines and have people come down here to enjoy the experience.’ Simone Furlong, Joint CEO, Leeuwin Estate Margaret River Promise The promise of Margaret River as a premium wine region was realised early. Cape Mentelle Cabernet Sauvignon (1982 and 1983) won the Royal Melbourne Wine Show’s prestigious Jimmy Watson Trophy twice, in succession. During the mid 1980s this trophy guaranteed sell-out sales in Australia’s major commercial wine markets. This validation of quality also brought considerable focus and new investment to the region as newcomers tried their luck. Leeuwin Estate’s own success in London for its Art Series Chardonnay in the early 1980s also foreshadowed a long and consistent export market in the United Kingdom. But it was the astonishing success of the 1987 vintage that added an extra level of sophistication surrounding Margaret River Chardonnay. The region’s extensive plantings of ‘Gingin’ clone chardonnay is in part a result of Leeuwin’s successful track record in the vineyard and the marketplace.

The Vintage Journal – Great Estates Series

Leeuwin Estate Art Gallery

During the 1980s and 1990s Australian wine merchants and distributors assisted Leeuwin Estate in building support and recognition in the retail and hospitality markets. The winery’s quest for recognition was also helped by the growing interest in the other pioneering Margaret River wineries including Vasse Felix, Cullen, Moss Wood and Cape Mentelle. This momentum spilled into new export markets, including the UK and US, where the Leeuwin Estate brand gained strong footholds. At the winery itself, the cellardoor operation and restaurant became a key tourist destination. A helicopter landing pad also enabled wealthy Perth denizens to rapidly shuttle to the winery with their clientele and showcase the glorious Margaret River coastline and vineyard paradise.

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Brocksopp, Cartwright and Atwood Meanwhile viticulturalist John Brocksopp and winemaker Bob Cartwright, inspired by Robert Mondavi and the Horgans’ ambition, created a technical vision for Leeuwin Estate. Their dedication to quality worked from the ground up and set standards and ways of working that are still respected by their successors today. John Brocksopp brought in a particularly creative form of viticulture. Although technically trained at Roseworthy Agricultural College, he saw grape growing as a quest for identity. He once reflected, ‘We grow individual grapes for individual wines. Fundamentally we are against homogenised and prescriptive recommendations of scientists. We seek to find and promote what is individual in our vineyards and our wines.’ John Brocksopp was way before his time as a viticulturalist. His approach to grape growing was rare. His approach and influence foreshadowed the shift towards sustainability, environmentalism and regenerative viticulture. His excitement and joy for the land are memorable. I remember him saying to me, in wonder, ‘The soils here are older than Japan! Can you imagine that?’ Prior to his appointment as winemaker at Leeuwin Estate, Bob Cartwright is believed to have made the first Western Australian chardonnay in 1974. The fruit derived from Gingin clone chardonnay vines was vinified in a 44-gallon drum at Valencia Wines at Caversham in the Swan Valley. At the time there were no small stainless steel containers or barriques and no refrigeration. Leeuwin Estate’s Gingin cuttings were sourced from Moondah Brook Vineyard and planted in 1975. The first crop was harvested in 1979 and used as a sparkling base wine. Bob Cartwright played a defining role and supervised the estate’s crush from 19 tonnes to around 1,200 tonnes. He established the Arts Series Chardonnay as a reference style and brought Leeuwin Estate into sharp focus as Western Australia’s marquee wine estate. After Bob Cartwright’s retirement in 2005, his deputy of eight years took over as senior winemaker and continued to build on his legacy. Under Paul Atwood’s custodianship, the Art Series Cabernet Sauvignon style was improved by refining the tannin profiles and oak maturation. This was aided by more investment in vineyard

The Vintage Journal – Great Estates Series

management and oak sourcing. A significant step up in quality was achieved between 2003 and his retirement in 2016. This has been recognised in the Australian secondary wine markets where wines from his era are well appreciated by collectors. It also led to further exploration and research into how wine, oak and oak types interact during the maturation process. Leeuwin Estate’s Winemaking Team Simone Furlong points out that the business team rarely interferes with the workflow of the winemaking team beyond normal financial controls and regular catch-ups. This is a tradition that harks back to Leeuwin Estate’s earliest days. This collaborative approach promotes creativity, respect and a sense of purpose, and it allows team members to be themselves. Their individuality, enthusiasms and detailed knowledge bring a distinct and optimistic family character. This energy and professionalism translates into the image and reputation of Leeuwin Estate itself. The winemaking team is remarkably tightly knit, with visions to progress the Leeuwin Estate story. Former geologist and viticulturalist David Winstanley arrived at Leeuwin Estate in 1999 and shadowed John Brocksopp (‘a very fine mentor’) before he retired in 2002. Since

From left: Snr Winemaker Tim Lovett, Viticulturalist David Winstanley, Winemaker Phil Hutchison

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then, original ambitions have been respected, but new perspectives and improvements have been made over the last 20 years. Of note is Leeuwin Estate’s commitment to sustainability and conservation. The previously neatly managed vineyards have become a ‘mess’ of vine health, biodiversity and energy, but the quality of fruit, as the wines attest, has progressed. During recent times, Winstanley’s experience and knowledge has also been backed up by Augusta local Lane Williams, as Assistant Viticulturist, with over 20 years experience in the region Senior winemaker Tim Lovett, who joined Leeuwin Estate in 2010, describes his role as ‘translating the vineyard to the glass’. He succeeded the highly regarded Paul Atwood as the estate’s third senior winemaker. Although Lovett inherited an unbroken track record of success, he was also the right person to steer Leeuwin Estate into the future. After graduating in agricultural science at the University of Adelaide, he worked as an understudy with some of Australia’s most enlightened thinkers, including winemakers Tom Carson, Robb Mann, Cliff Royle and, of course, Paul Atwood, whose collaborative and generous nature allowed Tim Lovett to take over the role seamlessly. Their detailed approach, curiosity and love for wine instilled a discipline that combined science, empathy and creativity. Tim Lovett’s open can-do personality, drive and ambition aligned with the Horgan work ethic, and these qualities, and workload, are shared by winemaker Phil Hutchison, a Curtin University graduate who joined Leeuwin Estate in 2010. Previously, ‘Hutchy’ worked at Xanadu, Mount Langi Ghiran and in France (Bordeaux and Châteauneuf du Pape). The technical team also includes assistant winemaker Breac Wheatley. ‘We all trust each other to do our bit. Everyone at Leeuwin Estate, including vineyard workers, cellar hands, front-of-house staff and the sales team, has a role to play. It is this collaborative culture and feeling of being on the same journey that makes Leeuwin

Estate a special place to work.’ David Winstanley, Viticulturalist

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Over the last 30 years Leeuwin Estate has built on its successes and further invested in vineyards, wine-making technology, oak maturation and skills, assisted by longstanding distributors and agents around the world. Certification by Sustainable Winegrowing Australia highlights increasing investment in regenerative agriculture, conservation and sustainable practices. Denis Horgan’s brilliance as a chartered accountant and succession planner has seen a completely new generation take over the running of the business without any sign of weakness. The transition from the first generation to the next is now complete, with Justin Horgan and sister Simone Furlong working as co-managing directors. Together with their siblings, Rebecca and Christian, and a third generation of nine cousins, they continue to work towards and beyond Tricia and Denis Horgan’s ambitions. Succession has been seamless and has allowed Leeuwin Estate to build momentum without distraction. Viticulture and Winemaking The Land Leeuwin Estate winery is located just south of the Margaret River township, virtually equidistant between Cape Leeuwin and Cape Naturaliste. The property lies almost at the tension point between the Southern and Indian Oceans. The atmospheric energy has a significant impact on growing season and tempers Margaret River’s Mediterranean climate. According to viticulturalist David Winstanley, the region receives most of its rainfall during winter, but intermittent spring rains, carried by frontal systems from the ocean, bring more moisture into the soils. By the time of flowering, in late spring, drier and sunnier weather conditions prevail. As the grapes ripen, warm summer conditions are moderated by cool onshore breezes. Significant heat spikes rarely occur because of this refrigerating effect. The vineyards are rarely, if ever, stressed, highlighting the unique location of Margaret River and the relative stability of the seasons. The Boodjidup Creek system, which flows west to the Indian Ocean, is the ‘major’ geomorphic feature in the development of the complex soil landscape of Leeuwin Estate. Over the last million years an ancient lateritic plateau has been carved and shaped by

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the Boodjidup Brook’s strong-flowing and meandering channels, especially in winter, to form the series of rolling hills and various slopes of the Leeuwin Vineyards. Conservation of the Boodjidup Creek is a key focus of the Estate’s sustainability management programme. The thick stands of giant karri (Eucalyptus diversicolour), marri (Corymbia calophylla) and peppermint (Agonis flexulosa) trees are an important feature of the Estate’s biodiversity, as are the rare freshwater fish that lie in their shadows during summer. The deeply weathered soils are derived from decomposed Precambrian granite gneiss and lateritic gravelly alluvium. The free- draining surface soils are typically red-brown gravelly sandy loam to sandy clay loams peppered with lateritic pisolites. Soil clay content increases further down the profile. At around 1.5–2 metres’ depth, the soils are predominantly red-brown medium clays. These are some of the finest soils anywhere in the world to grow wine grapevines. Vineyard Plantings Leeuwin Estate’s original vineyards, comprising mostly chardonnay, cabernet sauvignon and riesling, were planted between 1975 and 1978. According to David Winstanley, these vineyards remain the backbone of the Art Series wines. New chardonnay blocks were established in 1996 and 1997, followed by more plantings in 2016, 2017 (East Hill Vineyard), 2019 (Henry’s Vineyard) and 2021 (Helicopter Hill and Airstrip West Vineyards). All of these sites, on low to mid slopes, were selected after extensive soil sampling. Vineyard planning is matched to the variations of lateritic and granitic soil profiles. The Gingin clone, ‘cut and grown from Block 20’, continues to anchor Leeuwin Estate’s chardonnay story. Houghton selection cabernet sauvignon is also extensively planted. Propagated cuttings from the 1976 Block 9 Vineyard, as well as clones H5 and H20 from this selection, form the foundation of Leeuwin Estate’s cabernet sauvignon vineyards. New plantings of French clone 337, renowned for its richness of flavour and softer tannin profile, reveal an ambition to further improve the Art Series Cabernet Sauvignon style. Further south, Leeuwin Estate planted its first shiraz vines at Peppy Park, near Karridale, in 1997. The ‘slightly inland’ vineyard is planted with ‘original’ WA clone, 470 and Waldron. The warmer days and cooler nights foster the development of very good flavour profiles, tannin development and acid balance.

The Vintage Journal – Great Estates Series

Cool and wet springs tend to encourage ‘hen and chicken’, or ‘millerandage’. This erratic development of chardonnay bunches is caused by uneven fertilisation. According to winemaker Tim Lovett, the ‘chickens’ offer more intense and powerful flavours while the larger berries, the ‘hens’, carry much higher acidities. This is counterintuitive to previous thinking, but research has proven that the once-perceived shot berries are perfectly formed and sugar ripe. Combined, the chardonnay fruit brings exceptional concentration and flavour with naturally high acids. The quality of the vineyards is well recognised. Many cuttings have been taken from the 197 6 -planted Block 20 and 197 8 -planted Block 22 to establish new vineyards within Leeuwin Estate and by other Margaret River wineries. These blocks continue to represent the backbone of the highly regarded Art Series Chardonnay. The unirrigated vineyard gently slopes on gravelly and well-drained soils towards Stevens Road on the western boundary. Gingin Clone The Gingin clone has a very interesting history and exemplifies the connection between 19 th century aspirations and modern ambitions. Plant breeding and economic botany are the foundations of modern viticulture. Vine selection to improve performance and resistance against virus and disease is a foundation principle of modern winemaking. Chardonnay was brought into Australia as early as the 1830s as either pineau blanc (James Busby importation catalogue 49) or morrillon. Although there are claims and counter claims about who produced Australia’s first chardonnay, there is evidence that Leo Buring showed an example of Australian chardonnay in London in 1893. In Western Australia, there was a growing interest by the Department of Agriculture in further developing the wine industry. In 1956 it ordered cuttings of seven varieties from the University of California. Among this consignment were 24 cuttings of chardonnay. According to vigneron Brian Croser, ‘The clone FPS 1 was in the Armstrong Vineyard in 1930 towards the end of Prohibition. It is likely given the circumstances that not much was planted or selected during Prohibition from 1920 to 1933, so FPS 1 is likely to be a pre-Prohibition clone.’ The

Volume 1 – Leeuwin Estate

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provenance of the material can be traced back to Californian- imported budwood from Meursault in 1882. FPS 1 was withdrawn from distribution in 1961 because it was thought that its tendency for hen and chicken was caused by leafroll virus – but not before State Viticulturalist Bill Jamieson had secured these ‘Old Farm’ or ‘Old Foundation’ cuttings and planted them at Valencia (nowadays known as Moondah Brook Vineyard), at Gingin, north of Perth, Western Australia.

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Leeuwin Estate Art Series Chardonnay Preservation of pristine fruit characters through vinification and maturation remains at the heart of winemaking. This, of course, starts in the vineyard where observations, reaction and mitigation of environmental patterns are key to vineyard management practices. The vineyard blocks are planted on a series of rolling hills facing all directions. The morphology of the Gingin clone sees the berries ripen differently. The smaller berries usually possess slightly higher sugars and acidity. Vintage takes place in mid February to early March and the grapes (about 2–3 kilos per vine) are hand-harvested when they have reached a point of ‘energy, bone and pop!’ This translates to intense pure fruit aromas, richness of flavour, fine al dente textures and fresh indelible acidity. These are the hallmark qualities of Gingin clone chardonnay. I have often wondered at the clone’s provenance and passing resemblance to Meursault.

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Tim Lovett describes the estate-grown chardonnay fruit as a ‘miracle’. The fruit is mostly destemmed, chilled and cold-soaked under a blanket of CO 2 for eight hours to prevent oxidation and promote some skin contact to amplify flavour and texture. Some parcels of fruit are also whole-bunch-pressed to produce more solids and phenolic compounds. After cold-settling, the batches are racked into 100% new French oak. Among the many small refinements is the transition to 100% Bordelaise barriques. Tim Lovett believes in the concept of selecting oak ‘inside out’. He particularly appreciates the tight, slightly green-grained quality of maritime-influenced oak, because it does not overly transmit oaky flavours into the wine during barrel fermentation and maturation. After fermentation the wine is sulphured up and cold-stored in barriques to protect the pristine unsculptured fruit. During barrel maturation the wine is stirred weekly for three months and then every fortnight for eight months. After 11 months in oak, the wine is racked into refrigerated stainless steel for six months before assemblage and bottling. Tim Lovett says ‘the key points surrounding winemaking is that we seek to preserve fruit characters of the vineyard. This is achieved by taking a very light-handed approach. A touch of skin contact prior to fermentation and protective control during the maturation phase promotes flavour and purity of fruit. A fine-boned mineral structure and completeness is achieved through precision oak handling and preserving the natural levels of malic acidity in the wine. Nature takes care of the rest.’ Reputation Leeuwin Estate Art Series Chardonnay won a reputation among collectors for its cellaring longevity by the 1990s. After the release of the 1987 vintage, it became a reference and one of the few Australian chardonnays that could withstand the test of time. It quickly became the leading collectible Australian white wine in the Australian secondary wine market. It is regarded as an Australian First Growth and classified as ‘Exceptional’ in Langton’s Classification of Australian Wine . The much tinier Giaconda winery, in the Beechworth area of northeast Victoria, and Grosset Polish Hill Riesling from the Clare Valley in South Australia are the only two other Australian white wines that have achieved this accolade. Leeuwin Estate Chardonnay

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is also highly prized in other forums. Recently the 2018 vintage was voted the top wine in the 2021 ‘Judgement of the Napa’, beating a stellar list of Burgundian and Californian producers. Style Leeuwin Estate Art Series Chardonnay is long-lived and fine-boned, with superb fruit definition and clarity. Exuberant fruit, savoury complexity, creamy richness, al dente textures and fresh indelible acidity are typical of younger vintages. With a few years of bottle maturity, the Art Series Chardonnay sheds its aniseed top notes, revealing beautifully defined grapefruit / melon aromas and complex lanolin nuances. The palate becomes richer and fleshier, but remains minerally and fresh. These are simply gorgeous wines of great flair, technical brilliance, consistency and longevity. And, like Penfolds Grange, it has always kept true to the original blueprint. Leeuwin Estate Art Series Chardonnay is an historic marque, because of its profound impact on the story of Australian wine. It has been bottled under screw cap since 2004.

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2019 Leeuwin Estate Art Series Chardonnay

Artwork “Turquoise Rush Hour” by Leon Pericles

Pale colour. Intense lemon curd, grapefruit, peach, tropical fruit aromas with underlying roasted cashew / hazelnut notes. Lovely grapefruit, lemon curd, tropical fruits, fine persistent chalky textures, attractive mid palate volume and fresh long indelible acidity. Finishes al dente, with savoury oak note. Still elemental but wonderfully balanced with the fruit density and torque to last the distance.

y Now–2036 y 13.5% alc y 98+ points

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2018 Leeuwin Estate Art Series Chardonnay

Artwork “Soul Search” by Virginia Cuppaidge

Pale colour. Fresh lime, grapefruit, yeasty tonic water aromas with grilled nut notes. Fragrant grapefruit, white peach, nectarine fruits, bitter lemon, hint of tropical fruit notes, lovely integrated savoury oak complexity, al dente chalky textures, and fine mineral acidity. Finishes crunchy and long. A beautifully balanced Margaret River Chardonnay with superb precision, purity and concentration. A classic.

y Now–2036 y 13.5% alc y 99 points

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2017 Leeuwin Estate Art Series Chardonnay

Artwork “Veiled Spectrum V” by John Young

Pale colour. Intense lime grapefruit aromas with grilled nut vanilla notes. Fresh lime, bitter lemon, grapefruit flavours, plentiful loose- knit chalky textures, attractive vanilla notes and fresh long linear acidity. Finishes crunchy, minerally and long. A cool spectrum of aromas and flavours, but a well-balanced wine with attractive fruit definition and mineral length.

y Now–2030 y 13.5% alc y 95 points

The Vintage Journal – Great Estates Series

2016 Leeuwin Estate Art Series Chardonnay

Artwork “Influence” by Kim Maple

Pale colour. Fresh flinty, lemon curd, bitter lemon, grapefruit aromas with yeasty, vanilla, roasted hazelnut. Generous ripe peach, nectarine, grapefruit, pear flavours, fine silky textures, superb mid palate creaminess and integrated mineral acidity. Finishes al dente with crunchy nectarine fruits and underlying savoury notes. Lovely extract, volume and persistency. A racehorse.

y Now–2036 y 13.5% alc y 100 points

Volume 1 – Leeuwin Estate

2015 Leeuwin Estate Art Series Chardonnay

Artwork “Tjukurpa Tjuta” by Ginger Wikilyiri and Bernard Tjalkuri

Pale colour. White peach, pearskin, grapefruit aromas with grilled nut, marzipan, lanolin notes. Generous peach, nectarine, grapefruit flavours, fine loose-knit chalky textures, aniseed notes, vanilla and long mineral acidity. Finishes chalky firm with plentiful aniseed notes. Well balanced and solid with generous sweet fruits and sinuous textures. Delicious drinking wine.

y Now–2028 y 14% alc y 96 points

The Vintage Journal – Great Estates Series

2014 Leeuwin Estate Art Series Chardonnay

Artwork “Tetrad III” by John Peart

Pale colour. Fragrant lime squash, bitter lemon, grapefruit aromas with roasted hazelnut / vanilla oak. Superbly developed and balanced palate with lime, lemon curd, grapefruit, white peach flavours, fine lacy / chalky textures, attractive mid palate viscosity, roasted hazelnut, biscuity notes and fresh indelible acid cut. Finishes crunchy with plentiful nectarine, lemon fruits. A classic Leeuwin with the fruit definition, linear structure and tension for the long haul. A very age-worthy wine.

y Now–2034 y 13.5% alc y 98 points

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The Vintage Journal – Great Estates Series

2013 Leeuwin Estate Art Series Chardonnay

Artwork “a fixed address (fish and marron)” by Tim Monangle

Pale colour. Fresh lime, grapefruit, nectarine aromas with vanilla aniseed notes. Beautifully balanced wine with developed grapefruit, stone fruit, vanilla flavours, hints of butterscotch, fine chalky textures and fine long crisp acidity. Finishes chalky / crunchy with abundant sweet nectarine fruits, roasted hazelnuts and a kick of aniseed. A well- developed style with excellent fruit complexity and precision.

y Now–2032 y 13.5% alc y 97 points

Volume 1 – Leeuwin Estate

2012 Leeuwin Estate Art Series Chardonnay

Artwork “Boundaries” by David Aspden

Pale colour. Lime, lemon curd, grapefruit aromas with flinty hint of lanolin notes. Supple textured wine with plentiful lime, lemon, grapefruit, tonic water flavours, fine loose-knit chalky textures and fresh linear bell clear acidity. Finishes al dente and crisp with sinuous nectarine, grilled nut, vanilla / pastry notes. A gentle style with lovely complexity and tension.

y Now–2028 y 14% alc y 96 points

The Vintage Journal – Great Estates Series

2011 Leeuwin Estate Art Series Chardonnay

Artwork “Axis Mundi” by Tim Johnson and Nava Chapman

Medium pale colour. Fresh grapefruit, lemon glacé, cashew nut aromas with vanilla creamy marzipan notes. Richly concentrated wine with developed grapefruit, baked lemon, grilled nut, marzipan flavours, fine lacy chalky textures and some aniseed notes. Finishes chalky firm with tonic water / bitter lemon notes. A superbly balanced wine with beautifully developed fruit, mid palate volume and fine indelible acidity.

y Now–2030 y 13.5% alc y 97 points

Volume 1 – Leeuwin Estate

2010 Leeuwin Estate Art Series Chardonnay

Painting “Untitled” by Yukultji Napangati

Medium pale colour. Intense grapefruit, pineapple, lemon curd aromas with light roasted hazelnut notes. Generous and creamy with fresh grapefruit, pineapple, nectarine fruits, fine lacy al dente textures, superb mid palate viscosity and underlying vanilla notes. Finishes al dente firm with plentiful stone fruit notes. A reference Margaret River Chardonnay showing extraordinary density, richness and torque, all elements beautifully balanced.

y Now–2028 y 14% alc y 98 points

Leeuwin Estate Art Series Cabernet Sauvignon The foundation vineyard of Leeuwin Estate Art Series Cabernet is the 1975-planted Block 8. The vineyard is meticulously managed to promote the development of high-intensity fruit and fine, classical, grainy tannins. Although the growing season and maritime climate are similar to Bordeaux, the atmospheric conditions, lateritic soils, karri forests and bush-garrigue bring a very different and highly particular set of challenges. The region also has an astonishing diversity of bird life, which presents difficulties. Most vineyards are nowadays netted after veraison to stave off the squadrons of Australian ringneck 28ers (Twenty-Eight Parrots). There has been significant work on tannin management and fruit sourcing over the last 20 years, first under Bob Cartwright and then his successor, Paul Atwood, who was given the task of improving the style in 2003. At the time his brief was to make the Art Series

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Cabernet as recognisable as Art Series Chardonnay. By the time Tim Lovett arrived on the scene there had been some major progress. The sinewy structure often seen in earlier vintages was no longer present. Better canopy management created dividends, with the ‘solarization’ giving the grapes more opulence and classical grainy tannins. The investment in optical sorting machines (first in 2011 and an improved version in 2022) plays an important role in delivering more consistent fruit quality. By removing stalks and MOG (matter other than grape), it is possible to remove excessive leafy characters. The newer machines go further by sorting individual berries and removing anything that looks under-ripe. This technology is used extensively in the Medoc and over the last 10 years has impacted massively on the quality of Grand Cru Classé Bordeaux reds. Many important producers elsewhere with aspirations to make exquisite claret styles have also followed suit. According to Tim Lovett, cabernet sauvignon ‘echoes and expresses its environment more

than any other grape variety’. Houghton Selection

Leeuwin Estate Art Series Cabernet Sauvignon is also steeped in history, because it is based on the famed Houghton selection. The story of this vine stock material is fascinating. Although the Western Australian Department of Agriculture believes that it may have originated from South Africa, more likely it came from the east coast of Australia. There are two strands of evidence that suggest this, and both lines of enquiry bring its provenance tantalisingly close to Sir William Macarthur’s Camden Park Nurseries, southwest of Sydney, New South Wales. DNA testing could probably solve the mystery, but because of the phylloxera devastation at Camden in the 1870s and assumed transmission of vine stock material, there isn’t a truly watertight way to prove it. Even so, cabernet sauvignon was first brought out to Australia in 1837, some eight years after the first vine stock was sent over to the Swan River Colony’s new botanic gardens in 1829. But it wasn’t until the 1950s that Jack Mann of Houghton’s started to label his wines as cabernet. According to mythology he took cuttings from the “Frenchman’s Block” during the 1930s, but there is no record of where this vineyard was located, presumably in the Swan River. Like the Gingin clone, its serendipitous morphology

The Vintage Journal – Great Estates Series

produced grapes of particular intensity, tannin quality and acid balance. Houghton Selection is widely planted in the Margaret River and is the foundation of the region’s reputation for ultra-fine long- lasting cabernet. Although the Houghton clone has been massively successful in Margaret River, Leeuwin Estates’ cooler southerly position can sometimes result in more muscular cabernet sauvignon styles. Although there has been extraordinary evolution in style through vineyard management, vinification and maturation techniques, the technical team has also looked at the benefits of other clonal types. In more recent years David Winstanley has planted the highly regarded French clone 337, which has a history dating back to the late 1980s in Bordeaux. The loose clusters and thick skins are excellent against disease pressure. This complementary clone is also proving to be extremely flavourful, with softer tannin profiles. There is a belief that the Art Series Cabernet Sauvignon style will benefit from its inclusion, although this is still a work in progress. Winemaking Controlled cool vinification takes place in closed fermenters, with regular pumping over to promote gentle extraction of colour, flavour and tannins. At completion of malo-lactic fermentation the wine is racked into a half–half combination of new and seasoned Bordeaux-coopered barriques (225–228-litre barrels). According to Tim Lovett, there is a great amount of detail in the oak purchasing plan because he matches oak quality with the potential character of the vintage. His suppliers include Taransaud, Sylvain and Quintessence. Oak maturation takes roughly 22–24 months, depending on vintage. Style Although previous vintages have included small amounts of cabernet franc and merlot, the style is predominately based on Houghton Selection cabernet sauvignon and malbec. The latter variety has become a blending stalwart in the region giving cabernet wines an inky depth and density. Typically, Leeuwin Estate Art Series Cabernet Sauvignon is classical in aromas and

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structure, with lifted blackcurrant, cassis, cedar notes, fine grainy tannins and underlying roasted chestnut characters. The style is generous and vigorous. The 2018 is a highwater mark for the series and proves that all of those small percentage changes have made a huge difference. But cabernet is an unforgiving and transparent variety. The weather patterns and vineyard management have to perfectly align to make wines of this stature in this part of the Margaret River.

The Vintage Journal – Great Estates Series

2018 Leeuwin Estate Art Series Cabernet Sauvignon

Artwork “Coastwide Lights #2” by Alun Leach Jones

Deep crimson. Classical blackcurrant cedar aromas with lifted espresso, roasted chestnut notes. Inky deep and beautifully concentrated wine with dense blackcurrant, dark plum, dark chocolate flavours, fine grainy / chocolaty tannins and perfectly integrated cedar oak. A superb grainy firm finish and mineral length. A great Leeuwin Estate Cabernet.

y Now–2040 y 13.5% alc y 99 points

Volume 1 – Leeuwin Estate

2017 Leeuwin Estate Art Series Cabernet Sauvignon

Artwork “Complicated Move” by Marise Maas

Deep crimson. Fresh intense cassis, plum, dark chocolate aromas with herb garden, leafy notes. Well-concentrated wine with blackcurrant pastille, blackberry, praline flavours, cola / chinotto, herb notes and persistent leafy tannins. Finishes gravelly firm with plentiful sweet dark fruits and attractive mineral length. A very animated style with lovely fruit definition, density, richness and length.

y Now–2032 y 13.5% alc y 96 points

The Vintage Journal – Great Estates Series

2016 Leeuwin Estate Art Series Cabernet Sauvignon

Artwork “Where’s the gift shop?” by Tony Coleing and Chloe Watson

Medium-deep crimson. Violet, cassis, blackberry, mulberry aromas with leafy graphite notes. Well balanced with fresh mulberry, cassis fruits, plentiful cigar box / roasted chestnut notes, attractive mid palate richness and supple graphite tannins. Finishes chocolaty with bittersweet / cedary notes. Medium weighted but attractive wine.

y Now–2030 y 13.5% alc y 94 points

Volume 1 – Leeuwin Estate

2015 Leeuwin Estate Art Series Cabernet Sauvignon

Artwork “Canal Street” by Helen Eager

Medium-deep crimson. Leafy, graphite, mulberry, cranberry, chinotto aromas. Firm, rigid and inky deep with plentiful sweet red and dark fruits, fine grainy, touch of sinewy tannins and roasted walnut, mocha notes. Finishes firm with savoury notes. A noticeably muscular wine balanced by plentiful sweet fruits and integrated oak.

y Now–2028 y 13.5% alc y 93 points

The Vintage Journal – Great Estates Series

2014 Leeuwin Estate Art Series Cabernet Sauvignon

Artwork “Window View” by Paul Partos

Medium-deep crimson. Blackcurrant, mulberry, graphite aromas with leafy roasted-walnut notes. Well-balanced palate with plentiful dark fruits, dark chocolate notes, plentiful fine graphite, hint of gritty tannins and underlying savoury oak. Finishes bittersweet with chinotto notes. Very attractive claret style with emerging cedar complexity.

y Now–2028 y 13.5% alc y 94 points

Volume 1 – Leeuwin Estate

2013 Leeuwin Estate Art Series Cabernet Sauvignon

Artwork “Arch & Slab No 8 Circus” by Christopher Pyett

Medium-deep crimson. Intense blackcurrant, plum, mulberry aromas, underlying cigar box / cedar notes and touches of violet. Lovely dense dark-fruited wine with plentiful blackcurrant, blackberry flavours, developing tobacco leaf, cigar box notes, vigorous grainy firm tannins and integrated fresh acidity. Finishes leafy firm and long. Very attractive richness, volume and length. Worth keeping for a few more years.

y Now–2032 y 13.5% alc y 95 points

The Vintage Journal – Great Estates Series

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